'Ready To Wear' Is A Perfect '90s Fashion Time Capsule


Cowboy hats and drapey tunics abound!

Robert Altman is widely regarded as one of the great directors, with a career that spanned decades and spawned many of the most fondly remembered films of the '70s New Hollywood era. His diverse filmography covered country music (Nashville), gambling (California Split), the Korean War (MASH), and neo-noir (The Long Goodbye), to name just a few highlights. And, in 1994, he turned his eye on fashion, with the satirical Ready to Wear (Prêt-à-Porter). The film, playing at the Museum of Modern Art this week, was poorly reviewed and is generally considered a minor work. While it's certainly not the director's best, it features a truly top-notch time capsule of '90s runway looks.

Ready to Wear has a large ensemble cast, with real-life designers and models mingling with movie stars. The scattered plot touches on mysterious deaths, hookups, and the cutthroat competition that permeates the fashion world. There's a running gag of characters stepping in dog poop as they rush from one place to a next, and the film ends with a fashion show in which all the models appeal fully nude. Overall, one senses that Altman sees the fashion world and its internal dramas as frivolous; while this is undoubtedly true in some ways, it makes the film feel rather inconsequential, and the jokes are too easy. Watching it some 25 years after its release, in an age of '90s runway being a constant source of nostalgic Instagram posts, the onscreen looks feel fresh, and Altman's film might be received differently now, with so many fashion enthusiasts nostalgic for the days when runway was truly adventurous, and supermodels reigned.

"Ready to Wear" is an intentionally ironic phrase here. Most of the looks onscreen are anything but for the average viewer. Just look at this absurd (but potentially comfy?) teddy bear-covered jacket.

The fashion editors dress in a caricatured style, with sunglasses that automatically connote bitchiness and quirky accessories like top hats.

Classic stars of Hollywood and foreign film, like Sophia Loren, Lauren Bacall, and Anouk Aimée all make appearances. These women, in elegant blazers or, in the case of Loren, a veil, all dress in more self-consciously classic, tailored styles than those around them. Nineties runway trends aren't part of their wardrobes.

Plenty of the fashion featured in Ready to Wear could be pulled from an editorial today. Cowboy boots and draped tunics, seen in a photo shoot, are still an easy and fun style, and some of the runway looks feature athleticwear-inspired accents, which are definitely making a comeback.

The runway shows feature a range of delightful looks. All parts of the '90s style spectrum are represented: There are dramatic fur trims and metallic blazers, suggesting holdovers from the over-the-top styles of the '80s, but we also see cream-colored, slouchy outerwear, more immediately suggestive of the '90s shift toward luxe minimalism.

The textures on display are rich and dramatic. Whether it's a fuzzy sweater and gem-covered boots, a sparkling dress that looks fit for a historical debutante, or a satiny, boudoir-influenced bridal ensemble, these looks have a tactile appeal in their garishness. The runway can present a vision of fashion as escapism, and in the increasingly terrible year of 2019, it makes sense that the fun looks of '90s runway might serve as a fantastical respite.

Screenshot via YouTube

The band shared details about their new St. Vincent-produced album that will drop "you into the world of catastrophe"

Sleater-Kinney just shared more information about their St. Vincent-produced album and dropped a new single.

Per Billboard, Sleater-Kinney revealed that their new album, which they've been teasing since early this year and will be their first since No Cities To Love from 2015, will be called The Center Won't Hold. It's due out on August 16 via Mom + Pop Records. "We're always mixing the personal and the political but on this record, despite obviously thinking so much about politics, we were really thinking about the person—ourselves or versions of ourselves or iterations of depression or loneliness—in the middle of the chaos," Carrie Brownstein said in a statement. Corin Tucker further noted that the new album will "[drop] you into the world of catastrophe that touches on the election."

Janet Weiss noted that the band will "explore a different sound palette" with this album, and pointed to St. Vincent as the reason behind it. She said that St. Vincent "has a lot of experience building her own music with keyboards and synthesizers so she could be our guide to help us make sense of this new landscape and still sound like us."

To satiate us until then, the band released a lyric video for new single, "The Future Is Here," which is very grungy. Bump it, below.

Sleater-Kinney - The Future Is Here (Official Lyric Video)


This is so satisfying!

Even Jon Snow knows just how unsatisfying the final season of Game of Thrones was, and he's ready to apologize. Well, a deepfake of him is at least. A heavily-edited version of Snow's speech from the fourth episode—just before the bodies of those lost in the Battle of Winterfell get burned—now features Snow apologizing for the conclusion of the show and lighting the script on fire.

"It's time for some apologies. I'm sorry we wasted your time," Snow begins. "And I know nothing made sense at the end. When the Starbucks cup is the smallest mistake, you know you fucked up! We take the blame. I'm sorry we wrote this in like six days or something," he adds, before signaling to his peers to light the script with torches and "just forget it forever." "Fuck Season 8," he says before the pages begin to crackle and burn.

If there were more lines left to alter, we would have loved to see Snow also tackle how messy Brienne of Tarth and Jaime Lannister's story line ended up, as well as Bran's kingship, Cersei's boring demise, and the water bottle appearance.

Watch the entire deepfake and try to heal the wounds left by HBO below.


Photo by Darren Craig

It premieres today, exclusively via NYLON

In LP's song "Shaken," the most recent single from her 2018 record Heart To Mouth, she tells the story of seeing her lover out with someone else—ouch. Today, exclusively on NYLON, she releases a cheeky animated music video that pokes fun at the song's heightened drama and perfectly demonstrates all the angst that comes with falling hard for someone.

"She looks at you like I used to/ And I'm just sitting in the corner sh-sh-shaken," LP sings, as the visual—with art by Maayan Priva—depicts the singer hanging out in a bar, watching the girl she likes meet up with another girl. Despite the situation's inherent drama, "Shaken" is less of a ballad and more of an upbeat bop. LP told us she loves the way "this little video captures some of the fun of the song, and its inherent comical anxiety." Sure, heartbreak isn't that funny, but our (sometimes) overly dramatic reaction to it kind of is.

"'Shaken' feels like a bit of a wild card on this record," LP says. "It's the closest I've come to writing a musical, which I hope to do one day." We heartily endorse this idea: Please, LP, give us the queer jukebox musical we crave.

Until that day comes, though, you can watch the music video for "Shaken," below.

Asset 7
Photo courtesy of Sony Pictures.

This cameo has the Beyhive buzzing

I went to see Men In Black: International alone. Which would have been fine if it wasn't for the shock I received when I saw two specific characters on the screen. Unable to keep it to myself, I shared a curious look with the stranger next to me, who was obviously thinking the same thing as me. "Is that them...?" I whispered first. "I think… so," she replied. Then the two men in question started to dance, and we were both sure: "Yep, that's them."

It was Laurent and Larry Nicolas Bourgeois, better known as Les Twins. Fans of Beyoncé will recognize the duo as the talented brothers who often accompany her on tour and in music videos. In Men In Black: International, the two of them play shapeshifting entities—they're more like energy forces than aliens—who pursue Tessa Thompson's and Chris Hemsworth's characters throughout the duration of the film. The twins' ability to manipulate their bodies in ways that are graceful and otherworldly really helps sell them as extraterrestrials and is fun to watch.

So if Thompson in a suit or Hemsworth shirtless weren't enough motivation, here's another reason to go see it. If you look close, you can see them in the trailer below.


Photo by Dimitrios Kambouris/Getty Images for The Met Museum/Vogue

"I am honored to share this bonding experience with my own daughter"

In a heart-warming Instagram photo, Serena Williams shares the history of hair braiding and the importance of the tradition. The tennis player shared a photo of herself braiding her daughter Olympia Ohanian's hair and spoke about how "honored" she was to be able to "add another generation" to the tradition of the practice.

The photo shows Williams attentively braiding her daughter's hair while Olympia smiles, obviously loving the experience. Williams noted that hair braiding was created by the Himba people in Namibia, Africa, and that "we have been braiding our hair for centuries." "In many African tribes braided hairstyles were a unique way to identify each tribe," she continued.

Williams pointed out that braiding is a bonding experience. "People would often take the time to socialize," she wrote. "It began with the elders braiding their children, then the children would watch and learn from them. The tradition of bonding was carried on for generations, and quickly made its way across the world."

Williams closed her post with a sweet message about her daughter, saying that she's "honored to share this bonding experience" with her.

See the post, below.